Schofield's bread and butter. They want juicy, page-turning reads where small-scale interpersonal drama — within a family, friend group, workplace, or tight community — feels enormous. The tone should lean funny, warm, or wryly dark rather than purely literary. Think 'highbrow beach read': accessible and propulsive, but with real craft behind it. A sister story or ensemble women's fiction would be particularly welcome. Writers who are self-aware about craft and excited about commercial digital opportunities will appeal.

Schofield loves this space but is candid that the roster is already strong — new romance or romcom queries must offer something genuinely fresh, whether through an unexpected structural angle, bold genre-blending, or a standout voice. The non-negotiable is yearning: slow-burn emotional pull and a love story that feels big-hearted, even epic, ideally unfolding across years or decades. Pure formulaic genre entries will be a hard pass; the bar is high.

Schofield is actively seeking historical fiction that feels genuinely different — and the current agency page now also includes historical fantasy, an expansion worth noting. The key gate is setting: stories rooted outside the familiar British and American defaults are strongly preferred. Rich, immersive world-building and a vivid sense of place are essential. The addition of historical fantasy signals openness to speculative threads woven through a well-realised historical world.

A strong and growing part of the list. Schofield wants a hooky, clearly articulated premise above all else, with complex characters and a deep sense of place. Leads should be female. Sharp and relentlessly entertaining is the goal — Schofield is particularly interested in mysteries and thrillers aimed at a twenty-something readership. A horror-lite atmosphere can work well. Also very interested in the suspense/book-club crossover: stories with strong women at the centre that interrogate what it means to be a woman today. Note: excessive on-page violence against women is explicitly unwanted. Antiheroine narratives with a righteous or morally compelling angle are a specific draw.

YA is a smaller but genuinely loved part of the list — Schofield describes it as a first publishing love. They are especially keen to add UK and Irish talent. Priority is a first-love story with the warmth and summery energy of Jenny Han's work, or a debut with an irresistible, leap-off-the-page voice. Not a token category: Schofield actively wants to grow it.

Schofield is highly selective here but has a clear lane: popular history projects that cover under-taught areas, with particular interest in women's history, domestic history, family history, and social history. Experts with genuine authority in their field are strongly preferred. The work should have broad appeal beyond academia.

Also very selective, but Schofield has a clear taste: personal and sociological explorations of niche cultural worlds — the kind of book that uses a specific subculture (ballet, gymnastics, musical theatre, choral music) as a lens on broader human experience. The pitch must combine personal investment with intellectual rigour.